If you’ve been following this blog for a few years, you know I feel rather ambivalent about those things.

When I expressed my opinion about the Voice Arts™ Awards a few years ago, people took it personally. In the aftermath of the article, I received some very nasty emails, and quite a few colleagues unfriended me.

All of us survived the turmoil, and it appears the Voice Arts™ Awards are here to stay. Once again, colleagues will pay a non-refundable entry fee of up to $150 per entry to nominate themselves ($199 if you’re a company) in different categories.

Just so you know, all submissions become the property of SOVAS™, “to be used at its discretion, for the production of the ceremony.” SOVAS™ is the Society of Voice Arts and Sciences™.

If a category attracts fewer than four entries, “the organizer reserves the right to withdraw that category from the competition.” The participating entrant “will receive a credit towards future entry fees. No cash refund will be given.”

PAYING FOR YOUR PRIZE

If you’re thinking of entering any type of competition, you need to consider at least three things:

– Is the entry fee proportionate to the prize?

– Is the cost of entering worth the odds?

– Does the prize give a credit worth having?

Let’s start with the numbers. Winners of a Voice Arts™ Award can order an Award Certificate for $43, an Award Plaque Certificate for $160, and an Award statue for $346 (amounts include a handling fee, but there’s no mention of shipping costs).

Let’s say you’re competing with two entries, and you win. If you go for the statues, you’ll spend almost $1,000 ($150 + $150 + $346 + $346), plus food, lodging, and transportation. You may even lose some money because you’re not available to work while going to the ceremony.

Ask yourself: Is that money well-spent, or would it be better for your business to use these funds to have someone design a new website? You could also spend it on coaching, on demo production, or on a marketing campaign. Would that ultimately give you a better return on investment?

IN THE SPOTLIGHT

To be fair, organizing these awards takes time and costs money. Sponsors can only cover so much. Yet, I don’t think a voice actor’s wealth should be an arbiter of talent. Why, then, must it function as a barrier? Why not lower the entry fees, and offer prizes people don’t have to pay for themselves, such as gear, representation, and coaching sessions?

I don’t think a voice actor’s wealth should be an arbiter of talent. Why, then, must it function as a barrier?

Now, the organizers hope to convince you that there’s more to winning than a walnut wood plaque, or a shiny statue. Your extraordinary talent will be publicly recognized in a business that’s built on invisible voices.

The question is: Do we really need a competition to get recognition?

Some people who know our industry really well, feel we do. It’s not enough to be outstanding. You need to stand out. And if there’s no podium, why not create one? Whether you like competitions or not, it’s a given that winning a prestigious prize has never hurt a career. Others say that real stars don’t need a spotlight to shine.

Here’s what I would like to know: will short-term recognition have a long-lasting effect? Could it increase someone’s market value? And who’s paying attention? Are we just throwing a party for ourselves, or will these awards generate publicity outside of what I call the babble bubble?

I’m not going to answer these questions for you, by the way. It’s your money, and I won’t tell you how to spend it. What I will tell you is this:

I’M A WINNER!

Much to my surprise, two projects I voiced were recently nominated for an award. Full disclosure: I didn’t submit myself, and I did not pay an entry fee. The only plaque I get, will be removed by a dental hygienist.

Two winners are selected in each category, one by IADAS members, and one by the public who cast their votes during Webby People’s Voice voting. Last year, the Webby Awards received over 13,000 entries from more than 65 countries.

The nominated video I’m featured in is called A Tale of Kat and Dog, A Holland Cool Movie. Thanks to the Edge Studio, I was cast to be the voice of a rather charming dog who takes the viewer on a whirlwind tour of Amsterdam, while chasing after a ball. There’s also a bit of romance in the air!

This 17-minute movie presented by the Holland Marketing Alliance, is up against companies like Squarespace, BMW, Samsung, and Nike. In May we’ll find out if the experts picked it as the winner, but the public has until Thursday, April 20th to vote online. If you’d like to take part in that process, click on this link.

Of course I’d be thrilled if you would show your support for The Tale of Kat and Dog, but don’t do it because you know me. Take a look at the five entries, and vote for the one you believe to be the best.

THE FINAL WORD

Meanwhile, I have a couple of auditions waiting for me. Those auditions are really mini-competitions we take part in every day. And who knows… one of them might lead to a project that turns out to be a prize-winning entry. But that can never be the goal. Just a nice bonus.

I’ve said it before: I’m in this business for the music. Not for the applause, although I have to admit that every once in a while it is nice to hear: “Job well done!”

I enjoy watching a great soccer game or a tennis match. I’m a fan of the Olympics. The rules of the game are known. There’s a clear finish line. Whoever scores the most points or clocks the fastest time, wins.

When it comes to artistic competitions, things are not so defined. I remember going to an exhibition of prize-winning painters. All artists had entered portraits. The first prize went to a painting that was almost abstract. The second prize (and audience favorite) was a portrait that was Dali-like in its photorealism. Apples and oranges were more alike than these two entries. So, why did the abstract painting win? Because the jury said so.

DARE TO COMPARE

At the heart of every competition is the obscure art of comparing. This motion picture is better than the other. This photo stands out from the rest. This actor outperformed his colleagues. This poem is so much denser than the other poem. The question remains: Based on what, and according to whom?

Most judges of competitions will certainly be looking and listening for technical excellence. But what sets a winner apart from a loser is more than flawless technique. It has to do with artistic mastery; with having an authentic creative voice.

Great art, whether it be music, dance, or any other medium, merely uses technique to give us something splendid that may very well break all the rules. It may even set a new standard. Stravinsky’s “Rite of Spring” is a great example. Some musicians thought it could not be played. It caused a scandal when it was first performed. Now it’s considered to be one of the masterpieces of modern music.

JURY DUTY

At the time of creation, great innovative art defies definition, and it is often anti-establishment. Here’s the problem: jurors of competitions are usually distinguished members of the establishment. It is their job to use semi-objective criteria, and apply them to very subjective artistic statements. Good luck with that!

Here’s another thing I don’t like about competitions: they turn colleagues into competitors, and divide them into winners and losers. My ideal world is a world where people cooperate instead of compete; a world in which doing your very best is more important than being the best.

Don’t get me wrong, I admire people at the top of their game, but I prefer the artist who selflessly and tirelessly works under the radar to the attention-seeking loudmouth looking for acknowledgment and recognition.

I admire people who are in it for the music. Not for the applause.

A NEW AWARD

All of this was going through my mind when the unknown Society Of Voice Arts And Sciences™ (SOVAS™) announced the establishment of the Voice Arts™ Awards. In its own words, this is an open competition honoring and acknowledging:

The following quote from their website reads like a mission statement:

“The purpose of the Voice Arts™ Awards is to provide international acknowledgement of the extraordinary skill and artistry that goes into the voiceover acting and the associated roles and to hold up a best-in-class standard of achievement to which the voiceover industry can continually aspire.”

That’s quite a mouthful, but voice actors should be able to handle that comfortably.

If you have a few hours to spare, I invite you to browse through seventy(!) pages of awards category descriptions. Each page lists about three to four different awards, such as “NATIONAL TV INTERSTITIAL ELEMENT – FEMALE” and “AUDIO BOOK NARRATION – CHILDREN INFANT TO 5 – MALE.”

Even though it’s mentioned in the “About section” of the Awards, I could not find a category for equipment manufacturers or bloggers. I guess I’m out of luck!

PAY TO PLAY

The competition is open to individuals, companies, and students, as long as the entry is in English, and has first appeared in public between January 1, 2013 and June 15, 2014 (click here for details). The price of a single entry for a company/non-SOVAS™ member is $310. If you’re an independent artist, you pay $210 per entry (there is an early bird discount, but the time for that has passed). SOVAS™ members may enter at a reduced rate.

SOVAS™ membership ranges from $125 per year (Basic Package) to a $5,000 Platinum Package. Five grand may seem a lot, but for that you’ll get a Voice Arts™ Awards statuette named and presented in your honor, and a Special Education Scholarship offered in your name (among other perks).

On a side note, the cost of the competition does not end there. Many competitions require that the nominees/winners attend the awards ceremony. I’d consider the cost of travel, meals, accommodations, and of work lost because you’re attending the event, as part of the expenses. A few of this year’s winners flew in from the United Kingdom.

Some of the Awards were presented during a Gala on November 9th, at the Museum of the Moving Image in New York. Early Bird tickets go for $225 each. The Sumner M. Redstone Theater seats 267. Let’s assume SOVAS™ sells 175 tickets. That alone should bring in almost forty thousand dollars.

Participants had until August 31st 2014 to send in their entries. Entry fees were non-refundable once the entries have been submitted. SOVAS™ rules state:

“In the event that any individual category attracts fewer than 4 entries the organizer reserves the right to withdraw that category from the competition. In this event, the participating companies will receive a credit towards future entry fees. No cash refund will be given.”

and…

“All submissions become the property of SOVAS™ to be used at their discretion, for the production of the ceremony and other uses.”

WHAT’S IN IT FOR YOU?

Even though I have my doubts about artistic competitions in general, I’m trying to keep an open mind about the Voice Arts™ Awards. Before I would even consider entering any kind of competition, I’d ask a few questions:

Is the organization running the competition reputable?

What’s the intention of the competition?

Does it have the potential and credibility to raise the professional bar?

Are the criteria by which people are judged fair and clear?

Are the judges respectable, and are they known experts in their field?

Does every entry receive a professional evaluation?

Is the entry fee proportionate to the prize?

Does the prize give a credit worth having?

The problem with the Voice Arts™ Awards is that for many questions it’s too early to tell, because this is the inaugural year. It’s never been done before, and I believe it’s too easy to pass judgement without giving them a fair chance. There’s a lot we don’t know, so let’s see what we do know.

FINDING ANSWERS

To start with question number one, SOVAS™ is run by five-time Emmy winner Steve Ulrich who is also the executive director of the Sports and Daytime Emmy Awards®. Producer Rudy Gaskins and his wife -voice-over celeb Joan Baker– are both on the board, as is the former head of the Promax/BDA awards program, Stephen McCarthy. Those people have a lot to lose, should these new awards turn out to be a flop. I think they’re smart enough not to let that happen.

Would the voice-over industry benefit from this competition? Would it make the invisibles of so many audio-visual productions visible? Would our profession finally get the respect many feel it deserves?

Do we really need a competition to get recognition?

Some people who know the industry really well, feel we do. It’s not enough to be outstanding. You need to stand out. And if there’s no podium, why not create one? Whether you like competitions or not, it’s a given that winning a prestigious prize has never hurt a career. The question is, will short-term recognition have a long-lasting effect? Could it increase your market value? And who’s paying attention? Are we just throwing a party for ourselves, or will these awards generate publicity outside of the small voice-over bubble?

A MATTER OF MONEY

Let’s talk about the entry fees. Anyone will recognize that organizing these awards takes time and costs money. That money has to come from somewhere. Yet, I don’t think a voice actor’s wealth should be an arbiter of talent. Why, then, must it function as a barrier? Is it legitimate or exploitative? Is it to weed the amateurs out? Here’s the ultimate question:

Is the cost of entering worth the odds?

If you’re a winner, it probably is. But as in any competition, many are invited, and few are chosen. Established artistic competitions often have cash prizes, and may offer scholarships. What does the winner of a Voice Arts™ Award get? No money, but a golden statuette (which you have to pay for yourself), a title, and a temporary platform. Is that enough?

In other words, even if you’re not nominated or a winner, you will be able to read your evaluation, and benefit from it. Wouldn’t it be great if the Voice Arts™ Awards would do the same? Unfortunately, that’s not the case. This is how it’s done:

“In each category, each judge shall rate each entry on three indices. These indices vary by category and are listed below. For each index, judges enter a score from 1.0 to 10.0, where 1.0 is valued as “very poor quality” and 10.0 is valued as “perfection” in the personal standards of the judge.”

CRITICAL VOICES

Answering critics in VoiceOverXtra, Rudy Gaskins is very pragmatic about the entry fee. He encourages voice-overs to look at it from a business point of view. Being nominated for, and/or winning an award is smart marketing, he says. Every business should have a marketing budget. That’s where the entry fee should come from.

He has a point, but aren’t there other ways to market your business that are less risky, and that may have a bigger and more concrete pay-off? You could build a better website. You could invest in a newsletter. You could hire a graphic designer to come up with a logo.

COMMUNITY SERVICE

Gaskins also argues that these awards are a way to build community. He writes:

“Awards are a meeting place. They’re a focal point that draws the attention of those most interested and involved in your industry or profession. They’re an opportunity to engage your professional community in discussions of topics and controversies, in reviewing standards or discovering trends. Awards tend to involve leaders and experts. Awards are the place to learn, to network and to enhance professionalism.”

The sceptic in me highly doubts that these awards will have that effect. As I said earlier, by nature, competitions are pitting people and productions against one another. Slick award shows like the Emmys and Oscars are nothing but highly staged marketing events where artistic integrity is sacrificed in favor of purchased publicity. Stars show up pretending to have a good time, knowing that they’re contractually obligated to plug their latest project. Thank goodness for the gift bags!

Is that really what the voice-over world needs? Would that give our profession the much desired gravitas? Would increased respect lead to higher rates and higher standards? Would an average client be more inclined to hire an award-winning voice actor, or would he perhaps think that he probably can’t afford such a high-profile professional?

SHOW SOME RESPECT

Gaskins also believes these awards are good for our confidence and self-respect:

“When you enter an award, you are saying to yourself and your constituents that you believe in what you do. Get on the playing field and let the chips fall where they may. People respect those who stand up to be counted. The other choice is to go unnoticed.”

I don’t think it’s that black-and-white: either enter the competition, or go unnoticed. As a professional voice actor I enter competitions every day. I call it “auditioning.” Secondly, happy clients are my credentials, and my readers and students are my accolades. I don’t need a jury to tell me how well I’m doing, or to make me feel good about myself.

Still, what the Society Of Voice Arts And Sciences™ is doing takes guts, and I’m willing to give this initiative the benefit of the doubt. On paper, the Voice Arts™ Awards certainly have potential, but the value of this prize has yet to prove itself.

Ultimately, being a successful voice-over is not about winning or losing.

It appears that those in charge of the awards took some of my 2014 feedback to heart.

The 2017 early bird VAA entry fee for companies who are member of SOVAS™ was $129, and the regular fee was $150 per entry. For non-members it was $150 and $175. Independent artists who are member of SOVAS™ paid $99 and $119. Non-members paid $119 to $129 per entry. In 2014 (the inaugural year) the price of a single entry for a company/non-SOVAS™ member was $310. Independent artists paid $210 per entry.

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